He is considered by many to be the first African American artist fully
engaged by abstraction.
Not exact matches
The exhibit will include stunning hyper - realistic work
by Churchill - Johnson — stark political statement contrasted with delicate, minimalist
abstraction by Uyesaka — deeply
engaging abstract oils
by Scorzelli — dynamic and powerful ceramic insights
by Rosenberg - Dent — fanciful, abstract adventures
by Lehrer — an unsettling mixed - media installation with video
by auto - expressionist, Metrov — striking figurative vs abstract works
by Ferris — a lively «abolish blandness» painting
by Lytle contrasted with fabulous yarn work from the early 90's — and a pair of McCracken's, always delightful, miniatures.
Visually, The Garden of Delights alludes to
abstraction, and conceptually it
engages with the late seventeenth and eighteenth century casta paintings commissioned
by Spanish officials in Spain's New World colonies in the Americas that depicted the intermingling of three major races.
Whether appropriated
by some contemporary figurative painters or aligned with some sort of new figuration, where the painters «find everything to be a matter of images» (to quote Barry Schwabsky from the online catalogue for «A New Subjectivity»),
Abstraction clearly and demonstratively
engages with the problems of painting (and collage and sculpture) despite the surprising conservatism of Kerry James Marshall.
On the first floor, Ceal Floyer's wall of speakers blaring the
engaged signal of a failed telephone call, Line Busy (UK)(2011), is both a minimal work of art and a note of restrained humour; Cory Arcangel's hacked computer game screens, MIG 29 Soviet Fighter Plane and Clouds (2005), could be either political statement or benign dreamscape; while Allora & Calzadilla's Solar Catastrophe (2012) is a hard - edged
abstraction made from solar panels, as well as an ironic admission of the wreckage left behind
by this renewable energy source.
While the title alludes to the well - known 1984 novel The Unbearable Lightness of Being
by Milan Kundera, this exhibition focuses on a literal lightness of materials and
engages the tradition of
abstraction.
Works
by Leo Hurzlmeir, Richard Schur & Brent Hallard (l to r) March 12 — May 2, 2009 Exhibiting artists: Kasarian Dane, Stephan Fritsch, Brent Hallard, Leo Hurzlmeir, Robin McDonnell, Mel Prest, Richard Schur, Nancy White, John Zurier Pharmaka is pleased to present «TRANS: formal» the Los Angeles manifestation in a series of traveling shows
by nine artists from Germany, Japan and the United States who are all
engaged in a dialogue about
Abstraction -LSB-...]
This lecture will explore works in a variety of media
by artists such as Carmen Herrera, Frank Stella, Anthony McCall, and Hito Steyerl, which all
engage with modernist
abstraction and disrupt habitual ways of perceiving space and form.
To celebrate the recent gift of the painting One (1970),
by American artist Sam Gilliam (b. 1933), the Block Museum will present a focused exhibition of works
by artists
engaged with
abstraction and the expansion of painting in the U.S. in the 1960s and 1970s.
Whitten was hugely influenced
by de Kooning (whom he has admitted to following around like a puppy) but his work, which explores the possibilities of paint, also examines
abstraction as a valid form of
engaging with the black experience.
By turning away from
abstraction to
engage with natural shapes, colours, and textures over the next decade, Diebenkorn did the exploration and made the discoveries that did not happen earlier in his career.
Informed
by the interdisciplinary practices of earlier visual artists who
engaged the applied arts, poetry, theater, and dance, she merges the rarified tradition of
abstraction with techniques and materials common to decor and craft.
Ranging from a 1914
abstraction by Dutch artist Piet Mondrian to a luminous 1960
abstraction by Mark Rothko and oversized prayer beads
by contemporary artist Zarina, Beyond Belief provides an
engaging alternative that prioritizes spirituality in the reading of art.
For Noguchi, working in ceramics was a way to
engage with his Japanese heritage
by combining eastern materials and methods with his surrealist
abstractions.
Third were the thematic issues — Issue 2.6 / Food and Issue 2.15 / Performance: The Body Politic — and the thematic features that unfolded over the course of the year: Bruno Fazzolari's conversation series investigating
abstraction and the terms on which it is defined or negotiated in contemporary artistic practice; Elyse Mallouk's Landfill series, which triangulates with a print journal, quarterly subscription, and website, all of which archive and redistribute the materials produced
by socially
engaged artworks; and Zachary Royer Scholz's series about the historical and contemporary economic, political, technological, and cultural factors that shape the visual arts in the Bay Area and its possibilities for the future.
The show attempts to bridge the gap between the two bodies of works
by engaging the issue of pictorial representation as an
abstraction of depicted objects — a far - reaching pursuit for compositions and techniques that seem fairly simple and straightforward on the surface.
Lundeberg's later work,
by contrast, shifted focus to expressing psychic moods through more forthright
abstraction, while continuing to
engage both the material and spiritual worlds through her use of form, color, shape, and line.
She studied with the German - born guru of painterly
abstraction Hans Hofmann, but she shunned the modes of fervent expressiveness — promoted as Action painting
by Greenberg's agonistic rival critic Harold Rosenberg — that
engaged most artists of the so - called second generation of Abstract Expressionism.
The sculpture exhibits ranged from Vincent Barré's recent works in France, to Robert Taplin's witty narratives in Philadelphia, to Anthony Caro's steel constructions from the 1960s in Los Angeles; the painting exhibits included
abstractions by Thomas Nozkowski, Atta Kwami, and Larry Poons, landscapes
by Julian Hatton and Graham Nickson, and an
engaging, odd - ball installation
by Summer Wheat, all in New York.
Existing in the realm of both playful and contemplative discovery, the artist's immersive work encourages viewers to
engage in inner exploration and escape the barriers of the physical world
by incorporating
abstraction with hints of figurations.
Magdalena Abakanowicz's massive 1973 «Wheel with Rope», an aggressive sculpture made of found industrial materials, contrasts with defining 1970s «pour pieces»
by Lynda Benglis, who solved the riddle of how to translate gestural
abstraction into sculpture
by engaging walls and floors in a suggestive violation of spatial conventions.
Pharmaka is pleased to present «TRANS: formal» the Los Angeles manifestation in a series of traveling shows
by nine artists from Germany, Japan and the United States who are all
engaged in a dialogue about
Abstraction in painting.